| Karol Szymanowski : 6 Songs Of A Fairy-Tale Princess Voix haute, Piano Universal Edition
By Karol Szymanowski (1882-1937). Arranged by Oramo Sakari. For High Voice, Pian...(+)
By Karol Szymanowski
(1882-1937). Arranged by
Oramo Sakari. For High
Voice, Piano. Piano
reduction/vocal score.
Op.31. 29 pages.
Published by Universal
Edition
$34.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Karol Szymanowski : Concerto No.1 Orchestre, Violon [Conducteur] Universal Edition
(For Violin And Orchestra). By Karol Szymanowski (1882-1937). Edited by Eugenia ...(+)
(For Violin And
Orchestra). By Karol
Szymanowski (1882-1937).
Edited by Eugenia
Uminska. For violin,
orchestra. Full score -
miniature. Op.35. 106
pages. Duration 24
minutes. Published by
Universal Edition
$59.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Karol Szymanowski: Mazurkas Op. 50 Violoncelle, Piano PWM (Polskie Wydawnictwo Muzyczne)
No. 1 and 2 Cello and Piano. Composed by Karol Szymanowski (1882-1937). PWM....(+)
No. 1 and 2 Cello and
Piano.
Composed by Karol
Szymanowski
(1882-1937). PWM.
Classical.
Softcover. 12 pages.
Polskie
Wydawnictwo Muzyczne
#12323010. Published by
Polskie Wydawnictwo
Muzyczne
$6.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Karol Szymanowski : Symphony No.3 Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Conducteur] Universal Edition
(The Song Of The Night). By Karol Szymanowski (1882-1937). For tenor voice solo,...(+)
(The Song Of The Night).
By Karol Szymanowski
(1882-1937). For tenor
voice solo, SATB choir,
orchestra. Full score -
study. 86 pages.
Published by Universal
Edition
$59.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony No. 3 The Song of the Night Op. 27 [Conducteur] PWM (Polskie Wydawnictwo Muzyczne)
Solo Vocal, Mixed Choir and Orchestra SKU: BT.PWM5363020 For Tenor Sol...(+)
Solo Vocal, Mixed Choir
and Orchestra SKU:
BT.PWM5363020 For
Tenor Solo, Mixed Choir,
Organ and Orchestra.
Composed by Karol
Szymanowski. Classical.
Score Only. Composed
1985. 92 pages. Polskie
Wydawnictwo Muzyczne
#PWM5363020. Published by
Polskie Wydawnictwo
Muzyczne (BT.PWM5363020).
The Third
Symphony occupies an
special place in the
evolutionary process of
Szymanowskis style. The
Symphony The Song of the
Night, Op. 27, is a
setting of the poem of
the same title, from the
second divan of Mawlana
Jalal-ad-din Rumi, for
tenor solo, mixed choir
and orchestra. It was
completed in the summer
1916. Szymanowskis
interest in oriental
music at this period is
not so much , as far as
the Third Symphony is
concerned, an attempt at
some formal stylisation
of eastern music, but
rather an indication of
his search for some mode
of expression which would
best reflect the
conflicts of his
aesthetic and artistic
ideas. It was the direct
contact made with the art
of the Grecian and Arabic
worlds during his travel
to Sicily and North
Africa in 1911 and 1914
that provided the
external stimulus for
this interest. The Third
Symphony can be classed
with those symphonies for
chorus and solo voices so
often favoured by the
neo-romantic and
expressionist composers.
It is written in a free
ternary form, the
thematic material being
the basic unifying
structural element, which
imparts a conciseness to
the form, and retaining
the function despite the
significant changes that
occur in the melodic
character of the music.
The texture is
polymelodic, and a score
reveals a masterly
interweaving of the
multiplicity of parts,
melodic lines and
patterns of sound. This
symphony is consummation
of all Szymanowskis
mastery in
instrumentation and
colour, and a superb
study of orchestral
polyphony. Here,
Szymanowski liberates
himself from the rigid
relations of the
functional harmonic
system. In the place of
tonal progressions, he
shifts chromatically from
one sound lane to
another, of which the
smallest units are chords
made up of tritones and
seconds, using only a
free intervallic
structure, far more
remote in Szymanowski
from the dominant
centralistic harmony then
Debussy. In style, the
Third Symphony belongs to
the neo-romantic period,
if this can be broadly
defined as including
modernistic and
expressionistic trends,
and to musical
impressionism. (based on
the Preface to the
''Works'' by Teresa Chyli
ska, PWM 1985). $47.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Most Beautiful Szymanowski for Piano Piano seul PWM (Polskie Wydawnictwo Muzyczne)
Piano SKU: HL.133324 Composed by Karol Szymanowski. PWM. Classical. 72 pa...(+)
Piano SKU:
HL.133324 Composed by
Karol Szymanowski. PWM.
Classical. 72 pages.
Polskie Wydawnictwo
Muzyczne #10134010.
Published by Polskie
Wydawnictwo Muzyczne
(HL.133324). UPC:
884088981587.
9.25x12.0x0.224
inches. $25.99 - Voir plus => Acheter | | |
| Most Beautiful Szymanowski Piano seul PWM (Polskie Wydawnictwo Muzyczne)
Piano SKU: BT.PWM10134000 Composed by Karol Szymanowski. Book Only. Polsk...(+)
Piano SKU:
BT.PWM10134000
Composed by Karol
Szymanowski. Book Only.
Polskie Wydawnictwo
Muzyczne #PWM10134000.
Published by Polskie
Wydawnictwo Muzyczne
(BT.PWM10134000). ISBN
9788322407080. $17.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Stabat Mater Op. 53 PWM (Polskie Wydawnictwo Muzyczne)
Vocal, Mixed Choir and Orchestra SKU: BT.PWM5447 For Soprano, Alto, Ba...(+)
Vocal, Mixed Choir and
Orchestra SKU:
BT.PWM5447 For
Soprano, Alto, Baritone,
Mixed Choir and
Orchestra. Composed
by Karol Szymanowski.
Classical. Book Only.
Composed 2000. 68 pages.
Polskie Wydawnictwo
Muzyczne #PWM5447.
Published by Polskie
Wydawnictwo Muzyczne
(BT.PWM5447).
''Stabat
Mater'' by Karol
Szymanowski for solo
voices, chorus and
orchestra, Op. 53, is one
of the most famous and,
at the same time, most
personal works of the
composer, making its
appeal to the audience
through the depth of its
expression and sheer
artistry. The first
sketches of the work were
made in the spring of
1925, while work on the
full score occupied the
composer from 20 January
to 2 March 1926. Józef
Jankowskis Polish
translation of the
medieval sequence formed
the basis of the
composition. This text,
which was simple in a
folk-like way, devoid of
pathos but full of
religious zeal,
harmonized perfectly from
the poetic point of view
with the composers
creative design. In an
interview for the monthly
Muzyka Szymanowski
stated: ''in its Polish
vestments that eternal,
naive hymn was filled for
me with its own immediate
expressive content; it
became something painted
in colours which were
recognisable and
comprehensible as
distinct from the black
and white of the archaic
original'' (''A Footnote
to Stabat Mater'', Muzyka
1926, Nos. 11/12). In the
score, the Latin text is
given beside the Polish
text, making it possible
for the work to be
performed more easily by
foreign performers. In
this work, the universal
tradition of the
Christian church was
fused with the Polish
religious tradition. The
composer creates the
religious folk-like
climate primarily through
the character of the
melodies which are akin
to to the plainchant
melodies to the text of
Stabat Mater (the
sequence, and especially
the hymn) and their
paraphrases in Polish
religious songs (e.g. Sta
a Matka Bole ciwa [The
Dolorous Mother was
standing]) as well as
motifs from Polish Lenten
songs and Gorzkie ale
(Bitter Laments).
Szymanowski did not
introduce them as
quotations, but
intersperses the melodic
lines, which are more
fully developed and
frequently highly
chromatic, with diatonic
phrases, based on modal
scales. They appear in
all the movements of the
work determining its
cohesion. In dividing the
twenty-stanza text into
separate segments,
Szymanowski created a
six- movement cantata. He
took care to distinguish
between the emotional
shades of the various
movements, varying his
selection of solo voices
(soprano, contralto,
baritone), the voices of
the chorus (female or
mixed) and the orchestral
forces. In the first and
third movements the
lyrical idiom prevails;
the first movement,
portraying the Mother of
God at the foot of the
cross, has a narrative
character, whereas the
third is a kind of prayer
from a man who
sympathizes with, and who
wishes to be associated
with Mater Dolorosas
pain. In these movements
only the female voices
are used (soprano,
contralto and female
chorus), while the
orchestra is employed in
a chamber style,
sometimes drawing on solo
accompanying parts (e.g.
the beginning of the
third movement). The
fourth movement, which
continues the mood of
prayerful contemplation,
is designed for soprano
and contralto solo as
well as unaccompanied
chorus. On the other
hand, the second and
fifth movements,
involving the
participation of solo
baritone and the full
chorus and orchestra, are
similar with regard to
forces and their dramatic
character, which is
austere in expression,
harsh in tone, and
markedly dissonant. Here
grand climaxes appear
with powerful orchestral
tutti. The sixth movement
crowns the whole. The
lyrical, soft melody of
the solo soprano at the
beginning is gradually
strengthened by the
addition of the female
chorus and the solo
contralto, and in the
final section, the solo
baritone as well as the
tutti of chorus and
orchestra. The
conclusion, subdued and
full of concentration,
suggests the introvert
character of the
experience as opposed to
its dramatic pathos.
Stabat Mater by
Szymanowski is part of a
long tradition of
compositions based on the
text of the medieval
sequence - ranging from
polyphonic works by
Josquin des Prés and
Palestrina to the
romantic Stabat by
Giuseppe Verdi and Anton
n Dvo ák. And it was
perhaps because of his
consciousness of this
tradition that
Szymanowski used
stylizing devices in the
spirit of early music.
The archaization
manifests itself not only
in the character of the
melodies and their modal
framework, but also in
the harmonies (with their
predominance of triads,
open fourths and fifths
chords and doubled
thirds), the simple
rhythms as well as the
texture of the choruses
(esp. the fourth
movement). The composer
does not, however,
imitate the style of any
specific historical
epoch, but combines
resources taken from
early music with modern
tonal and harmonic
techniques. Archaization
in Stabat Mater serves,
moreover, a symbolic
function; in evoking the
many-centuries old
tradition of church
music, it emphasizes the
universal nature of the
idea contained in the
text of the sequence,
while the re-reading of
the text by the composer
gives the work its
individual features.
[Zofia Helman, translated
by Ewa Cholewka]. $28.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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